1 00:00:17,24 --> 00:00:18,10 Could 2 00:00:21,91 --> 00:00:24,28 could 3 00:01:05,11 --> 00:01:11,31 as recorded in you walk upon my high fidelity on the Boston Symphony Orchestra 4 00:01:12,25 --> 00:01:13,40 my coffee is Romeo 5 00:01:13,40 --> 00:01:21,61 and Juliet plays about ninety minutes its production required the three 6 00:01:21,61 --> 00:01:26,29 hundred seventy five and three man hours of work. 7 00:01:29,04 --> 00:01:33,68 Some of those hours were spent to bring you the music you want when you want. 8 00:01:36,55 --> 00:01:40,07 First stop them for the whole Boston Massachusetts. 9 00:02:13,56 --> 00:02:19,31 To begin with a new up on a high fidelity recording is not just a mechanical 10 00:02:19,31 --> 00:02:21,27 reproduction of a concert performance. 11 00:02:23,33 --> 00:02:28,61 It's the art of creating the effect of a concert performance. 12 00:02:29,39 --> 00:02:32,25 There are many stops and starts many take. 13 00:02:35,04 --> 00:02:42,02 That's because the end object is a planned illusion the illusion as 14 00:02:42,03 --> 00:02:45,41 you ultimately hear the music playback through your phonograph 15 00:02:45,41 --> 00:02:48,35 that you have the best seat in the concert hall. 16 00:02:49,77 --> 00:02:53,42 How do they do it while the recording music director 17 00:02:53,42 --> 00:02:58,66 or any one of the sound engineers could easily explain it all in ten weeks 18 00:03:00,93 --> 00:03:04,63 but let's take a look at three of the bundle mental requirements of high fidelity 19 00:03:04,63 --> 00:03:09,17 recording the first is a dynamic range. 20 00:03:10,32 --> 00:03:11,94 That's a spread between the softest 21 00:03:11,94 --> 00:03:17,68 and loudest passages in the music in a concert performance the range is as wide as 22 00:03:17,68 --> 00:03:24,26 the conductor feels the car in the case leave meters on the recording console in 23 00:03:24,26 --> 00:03:30,00 the case the volume of sound coming from the orchestra on to the magnetic tape in 24 00:03:30,00 --> 00:03:35,45 the old days home phonograph could not reproduce either pull out passages very 25 00:03:35,45 --> 00:03:39,84 popular but they were literally kept off the record right here. 26 00:03:40,07 --> 00:03:41,51 I found a monitor 27 00:03:44,37 --> 00:03:46,99 but it wasn't a baseball reproduction of the actual performance 28 00:03:48,33 --> 00:03:54,43 but as you get with today's high fidelity recording techniques they as it should be 29 00:03:55,26 --> 00:03:59,93 the conductor and his musician control all of the dynamics in. 30 00:04:00,00 --> 00:04:03,70 Looting all of the natural trading just as they do in a condo 31 00:04:06,99 --> 00:04:12,89 and after the recording begins the engineer never touches the controls the whole 32 00:04:12,89 --> 00:04:19,84 dynamic power of the orchestra is faithfully transferred to the recording takes the 33 00:04:19,84 --> 00:04:24,69 second requirement is somewhat similar achieving a natural balance between all 34 00:04:24,69 --> 00:04:25,27 instruments 35 00:04:25,27 --> 00:04:31,30 and sections of the art This can only be achieved by precise microphone placement 36 00:04:32,55 --> 00:04:38,58 and this varies amazingly with the music the particular artist the hall itself 37 00:04:39,49 --> 00:04:40,35 even climatic conditions. 38 00:04:41,88 --> 00:04:44,64 It is never the same from one recording session to another. 39 00:04:47,06 --> 00:04:51,46 Again an easy solution might be bombed here by the arbitrary placement 40 00:04:51,46 --> 00:04:53,06 and control of many Michael. 41 00:04:56,09 --> 00:04:59,37 But again it wouldn't be a natural or a reproduction. 42 00:05:01,31 --> 00:05:04,23 Today the engineers record the orchestra as a complete 43 00:05:19,02 --> 00:05:20,40 The third important is a choir 44 00:05:20,40 --> 00:05:26,22 and I heard all of the recordings is because they write after ing a high note as 45 00:05:26,22 --> 00:05:30,57 well as a lot. This is actually accomplished before the session begins. 46 00:05:32,00 --> 00:05:36,56 All it takes is recording equipment of enormous cost and capacity 47 00:05:37,36 --> 00:05:43,20 but as this recording console it faithfully handles all sounds audible to the human 48 00:05:43,20 --> 00:05:48,74 ear the entire frequency spectrum from twenty to twenty thousand cycles per second 49 00:05:50,82 --> 00:05:55,87 and with less than two tenths of one percent distortion it transfers them to the 50 00:05:55,87 --> 00:05:57,35 stored place in a magnetic tape. 51 00:06:00,00 --> 00:06:06,83 A new challenge here is stereo panic recording this requires doing Mike do a back 52 00:06:06,83 --> 00:06:07,51 take machine 53 00:06:08,26 --> 00:06:14,45 and the stereophonic mixer for those who have the equipment also permits two 54 00:06:14,45 --> 00:06:17,50 systems or stereophonic playback in the home. 55 00:06:19,49 --> 00:06:25,95 There are other high fidelity requirements such as problems definition clarity with 56 00:06:25,96 --> 00:06:26,94 time and patience 57 00:06:28,00 --> 00:06:34,72 and enough retakes they get on the record to eventually there is a 58 00:06:34,72 --> 00:06:35,30 playback 59 00:06:35,30 --> 00:06:40,21 that everyone recognizes as a big image they were seeking both artistically 60 00:06:40,21 --> 00:06:45,13 and the Coast to claim they have a truly faithful recording of Romeo 61 00:06:45,13 --> 00:06:46,07 and Juliet 62 00:06:48,26 --> 00:06:53,47 and we are one step closer to having it in our home. 63 00:06:53,49 --> 00:06:55,70 Next stop New York City. 64 00:06:56,25 --> 00:07:01,46 And the precise engineering business of transferring the recorded sound from tape. 65 00:07:01,75 --> 00:07:05,46 To a disc called Black or master. 66 00:07:05,47 --> 00:07:08,35 This this gives the grandfather of the records to come later. 67 00:07:10,10 --> 00:07:13,89 Let's look at the steps in the cutting of our lack of mastery. 68 00:07:14,84 --> 00:07:19,73 Most of the sound factors are already known. The speed of the tape in recording. 69 00:07:20,29 --> 00:07:24,17 Its playing time and the sound level required. 70 00:07:25,11 --> 00:07:28,77 These factors must be considered for both forty five R.P.M. 71 00:07:28,77 --> 00:07:32,18 and Long play lacquer masters. 72 00:07:32,20 --> 00:07:38,49 A special lacquer master disc is closely inspected for the twelve inch long play 73 00:07:38,49 --> 00:07:42,43 record the master is sixteen inches in diameter. 74 00:07:43,32 --> 00:07:48,53 For forty five extended play records the master is twelve inches in diameter. 75 00:07:49,25 --> 00:07:53,34 In both cases the extra width allows plenty of working room in cutting. 76 00:07:54,99 --> 00:07:59,04 Beside the spindle for centering the turntable has a number of holes. 77 00:08:00,00 --> 00:08:04,42 Through these holes air suction hold the lacquer disc down tightly. 78 00:08:04,63 --> 00:08:07,97 So it is perfectly flat on the turntable. 79 00:08:09,00 --> 00:08:13,16 The playing time of the music determines a member of grooves per inch 80 00:08:13,16 --> 00:08:19,39 that will be cut into the record the sound dynamics of the music determine how far 81 00:08:19,39 --> 00:08:25,92 apart the grooves must be loud passages need more space between 82 00:08:25,92 --> 00:08:32,84 grooves the passages need less the cutting machine automatically 83 00:08:32,84 --> 00:08:39,31 spaces the music grooves according to the sound signal it's receiving. Now. 84 00:08:39,89 --> 00:08:46,71 A test cut to determine the groove with. The groove width must be exact. 85 00:08:46,77 --> 00:08:51,31 So exact that it is carefully checked through a microscope. 86 00:08:53,30 --> 00:08:58,13 Everything's set and of course pitch lead in Groove is cut to the music area. 87 00:09:00,21 --> 00:09:01,44 The tape machine is started. 88 00:09:02,11 --> 00:09:03,58 And exactly one 89 00:09:03,58 --> 00:09:08,80 and a half turns before the music begins the cutting head automatically changes 90 00:09:08,80 --> 00:09:15,26 from the lead in groove to find pitch music through the cutting 91 00:09:15,26 --> 00:09:21,58 stylus is a minute piece of sapphire perfectly ground and electrically heated. 92 00:09:21,97 --> 00:09:28,33 So there is virtually no resistance as it cuts into the smooth lacquer during the 93 00:09:28,33 --> 00:09:33,46 cutting operation a constant watch is kept on the groove with to make sure it never 94 00:09:33,46 --> 00:09:37,76 varies from the prescribed setting it all sounds so simple 95 00:09:38,73 --> 00:09:43,58 when you're just skimming the surface actually of course it's a painstaking 96 00:09:44,51 --> 00:09:44,93 delicate operation 97 00:09:46,86 --> 00:09:53,76 but in time you have a perfect lacquer match the original 98 00:09:53,76 --> 00:09:59,66 paper goes into the vault for safekeeping to take its place for ever alongside many 99 00:09:59,66 --> 00:09:59,92 other. 100 00:10:00,00 --> 00:10:06,87 Priceless performances by the world's greatest art all the artistry 101 00:10:06,87 --> 00:10:10,66 of the Romeo and Juliet performance is being carefully preserved 102 00:10:12,36 --> 00:10:16,53 and we are another step closer to having that performance in our own living. 103 00:10:20,17 --> 00:10:22,36 Next stop Indianapolis Indiana. 104 00:10:23,74 --> 00:10:28,70 One of three processing plants to which are like our master might go. 105 00:10:28,72 --> 00:10:31,52 We start in production control. 106 00:10:31,54 --> 00:10:37,25 Here every lacquer master is assigned a shuttle a special business machine card 107 00:10:39,18 --> 00:10:43,65 from now on this card can lead you straight to our particular recording no matter 108 00:10:43,65 --> 00:10:45,83 where it might be in process. 109 00:10:46,95 --> 00:10:52,27 The processing is identical for long play them forty five rpm records. 110 00:10:53,08 --> 00:10:57,25 First the grooves in the lacquer Master are carefully rechecked through a 111 00:10:57,25 --> 00:10:59,90 microscope. They have to be perfect. 112 00:11:02,11 --> 00:11:07,48 Now we proceed to make metal copies from the like our master. The first step. 113 00:11:07,65 --> 00:11:12,65 Silvering. This takes precisely two minutes and forty seconds. 114 00:11:15,90 --> 00:11:19,18 And the lacquer master comes out with a new face. 115 00:11:20,25 --> 00:11:22,17 Nala by patiently electro plating. 116 00:11:22,68 --> 00:11:28,94 We add a series of metallic deposits one behind the other. 117 00:11:29,84 --> 00:11:32,57 First. Fine grain deposit of nickel. 118 00:11:33,05 --> 00:11:37,76 This makes smooth wall the grooves and a quieter surface. 119 00:11:37,78 --> 00:11:42,64 Next up into positive copper over the next. 120 00:11:42,66 --> 00:11:46,22 Nice smooth salmon pink. 121 00:11:46,24 --> 00:11:51,64 Now whirling glass in another tank a much heavier build up of copper. 122 00:11:52,18 --> 00:11:57,21 We'll see why in a moment. We now have a master desk. 123 00:11:57,30 --> 00:12:03,46 That is apparently all back on the front. But watch. 124 00:12:10,16 --> 00:12:14,35 Now we have two from two masters. 125 00:12:14,37 --> 00:12:20,11 The original lacquer master is on the left a new silver faced master is on the 126 00:12:20,11 --> 00:12:27,01 right. But this is the point where most people long for a road map. Let's make one. 127 00:12:27,03 --> 00:12:33,43 We started with a lacquer master to the face of it we added first silver 128 00:12:35,04 --> 00:12:37,78 then nickel. 129 00:12:38,66 --> 00:12:43,83 Copper and finally a lot more copper. 130 00:12:44,91 --> 00:12:47,04 Then we separate the lacquer from the metal. 131 00:12:48,16 --> 00:12:52,55 Now we have both our original lacquer master and a new silver faced 132 00:12:52,55 --> 00:12:56,78 or a metal master the grooves in the lacquer master make it a positive. 133 00:12:57,19 --> 00:13:02,41 It can be played the matching ridges on the metal master make it a negative. 134 00:13:02,72 --> 00:13:04,23 It cannot be played. 135 00:13:07,06 --> 00:13:11,76 We continue work with the metal master repeating the gradual metal build up to make 136 00:13:11,76 --> 00:13:17,17 another part than another separation. 137 00:13:17,19 --> 00:13:22,71 The metal master is at the left and a new part called a mold is at the right. 138 00:13:24,47 --> 00:13:29,68 We have progressed from the original positive to a negative to another positive 139 00:13:31,72 --> 00:13:35,50 the metal master normally goes back immediately to build up another mold. 140 00:13:35,61 --> 00:13:41,04 But that depends on the next importance that the mold can be played. 141 00:13:42,05 --> 00:13:45,96 So it is promptly readied for the sound test. 142 00:13:45,98 --> 00:13:50,93 The mold is thoroughly cleaned to prevent damage in the test play. 143 00:13:55,38 --> 00:13:58,74 In any name that tune on has put your money on a record. 144 00:14:00,81 --> 00:14:07,58 Eight hours a day and all kinds of music. She loves it more important. 145 00:14:08,17 --> 00:14:12,13 She is an expert at hearing the slightest imperfection on a record setter. 146 00:14:13,73 --> 00:14:18,52 And judging by many a new lack of mascara from the original paint is immediately 147 00:14:18,52 --> 00:14:24,87 ordered from New York after audio testing the mold goes back to the plating tanks. 148 00:14:25,98 --> 00:14:32,65 It produces the most important new metal part the stamper This completes the cycle 149 00:14:34,00 --> 00:14:40,85 lacquer to master the master to mold mold to stand for the metal 150 00:14:40,85 --> 00:14:47,02 build up to the Stamper is exactly the same except for one thing the Stamper is 151 00:14:47,02 --> 00:14:52,87 nearly all pure hard nickel its ridges pressed the playing grooves into the 152 00:14:52,87 --> 00:14:54,42 finished record. 153 00:14:55,30 --> 00:15:00,09 Now it's prepared for stamping ground perfectly smooth on the back. 154 00:15:03,05 --> 00:15:05,14 Optically center punched for the record press 155 00:15:09,88 --> 00:15:13,46 trimmed to exact diameter. 156 00:15:18,87 --> 00:15:26,22 And calling given the form dates to grasp the stamping dies securely. 157 00:15:28,41 --> 00:15:33,14 The record press is a complicated piece of equipment weighing two times. 158 00:15:33,15 --> 00:15:40,01 It molds records by compression hours damper is mounted on the top die. 159 00:15:40,03 --> 00:15:45,96 Below it. Another stamp or simultaneously presses the other side of the record. 160 00:15:45,97 --> 00:15:50,80 The record compound the finest Pura vinyl obtainable is 161 00:15:50,80 --> 00:15:52,97 that into the press in granular form. 162 00:15:54,13 --> 00:15:59,11 It is forced by hydraulic pressure into a soft plastic in just the right amount for 163 00:15:59,11 --> 00:16:05,61 one record. The labels are pressed right into the record. 164 00:16:05,63 --> 00:16:09,81 Now ready to roll it has taken many steps 165 00:16:10,67 --> 00:16:17,04 and many man hours to get here but a new record is stamped every few seconds. 166 00:16:18,80 --> 00:16:23,52 The record press automatically heats the vinyl plastic for stamping then 167 00:16:23,52 --> 00:16:24,69 automatically cools it. 168 00:16:25,65 --> 00:16:31,56 So the record can be played immediately. 169 00:16:35,04 --> 00:16:40,86 And here's the first long play copy of Romeo and Juliet. A collector's item. 170 00:16:40,88 --> 00:16:47,14 No the first pressing is always carefully inspected for everything from the correct 171 00:16:47,14 --> 00:16:50,67 serial number to perfect centering. 172 00:16:52,40 --> 00:16:54,48 Band ala mother playback. 173 00:16:57,27 --> 00:17:00,82 Finally the pressing of the Romeo and Juliet gets going in 174 00:17:00,82 --> 00:17:08,68 or for 175 00:17:08,69 --> 00:17:13,30 those who prefer the forty five extended play version than for the millions of 176 00:17:13,30 --> 00:17:15,46 teenagers anxiously awaiting the latest 177 00:17:16,88 --> 00:17:23,77 and ingenious machine turns them out automatically it places 178 00:17:23,77 --> 00:17:30,53 at the labels feeds itself the vinyl compound 179 00:17:31,48 --> 00:17:32,61 removes its own record 180 00:17:35,12 --> 00:17:42,10 and stacks them already trained down for the fast growing regions 181 00:17:42,10 --> 00:17:42,51 of Tate 182 00:17:42,51 --> 00:17:48,52 and is the equally ingenious machines turn out duplicate copies have four times the 183 00:17:48,52 --> 00:17:53,11 playback speed to save time and backward to save rewinding 184 00:17:54,88 --> 00:17:56,32 and no matter what your taste 185 00:17:56,32 --> 00:17:59,95 or preference in music in the packaging area you discover. 186 00:18:00,00 --> 00:18:04,17 For unlimited variety the finest installment for a for 187 00:18:07,00 --> 00:18:12,24 children's album. 188 00:18:13,69 --> 00:18:19,42 The unusual so showed you the 189 00:18:19,42 --> 00:18:21,01 same 190 00:18:33,60 --> 00:18:40,01 or company of the same pop hit the jazz classics the 191 00:18:40,01 --> 00:18:45,00 the war war war war 192 00:18:47,18 --> 00:18:52,95 or 193 00:18:52,96 --> 00:18:57,42 put band from Korea to 194 00:19:02,03 --> 00:19:02,25 war 195 00:19:02,26 --> 00:19:11,11 or her most music award 196 00:19:11,12 --> 00:19:15,58 for Larry Larry 197 00:19:19,62 --> 00:19:26,50 Larry it friend on her first 198 00:19:26,51 --> 00:19:34,48 February 199 00:19:39,15 --> 00:19:44,54 Bogor instrumental solo symphonic 200 00:19:45,95 --> 00:19:47,27 or other classical masterpieces. 201 00:19:48,51 --> 00:19:53,49 But the world's greatest artist already 202 00:19:53,49 --> 00:19:59,87 or sir. It's a big op. 203 00:20:01,70 --> 00:20:03,64 But no matter what type of music you prepare 204 00:20:03,64 --> 00:20:08,28 or whether you want it on forty five extended play or thirty three 205 00:20:08,28 --> 00:20:13,16 and the third long lay every record is made with the same care and 206 00:20:13,16 --> 00:20:17,65 or the same high fidelity standard and the Romeo 207 00:20:17,65 --> 00:20:24,57 and Juliet getting closer to home all the time a final 208 00:20:24,57 --> 00:20:31,36 inspection every record is carefully checked by experienced banker 209 00:20:32,37 --> 00:20:33,50 who know almost at a glance 210 00:20:33,50 --> 00:20:39,59 that the record is up to standard in its own distinctive sleeve 211 00:20:39,59 --> 00:20:40,70 another new 212 00:20:40,70 --> 00:20:47,08 or the moniker High Fidelity recording finally ready for shipment a new 213 00:20:47,08 --> 00:20:52,72 mechanical shipping technique helps to speed it on its way here in the shipping 214 00:20:52,72 --> 00:20:57,87 control room special machines keep track of a quarter of a million new records made 215 00:20:57,87 --> 00:21:01,34 here every day which record to go where. 216 00:21:02,83 --> 00:21:07,33 I am in what quantities the cards tell you. 217 00:21:09,21 --> 00:21:13,35 The Romeo and Juliet recording goes out in both forty five extended play 218 00:21:13,35 --> 00:21:15,92 and long play versions. 219 00:21:17,12 --> 00:21:19,13 The sorting machine divides the Romeo 220 00:21:19,13 --> 00:21:22,39 and Juliet shipping instructions into these two categories. 221 00:21:25,16 --> 00:21:27,42 Now the shippers take over. 222 00:21:27,43 --> 00:21:33,03 Both versions are shipped in the same way in cartons of twenty five records. 223 00:21:33,74 --> 00:21:39,87 But let's follow the cartons of forty five extended play album as their fix on the 224 00:21:39,87 --> 00:21:43,94 story span the cartons are placed on a unique distribution right. 225 00:21:43,97 --> 00:21:49,24 Invented Here from now on one girl keeps everything running smoothly 226 00:21:51,56 --> 00:21:54,70 as each order is filled according to the punch card instructions. 227 00:21:54,99 --> 00:21:58,12 She changes the setting on an automatic addressing machine. 228 00:22:04,61 --> 00:22:08,55 And the equipment does the rest of 229 00:22:14,47 --> 00:22:16,90 the code number and address of the record distributor 230 00:22:16,90 --> 00:22:20,94 but his daughter automatically stamped on each card. 231 00:22:22,42 --> 00:22:26,47 Then the car keys passed through another machine where they are bundled together in 232 00:22:26,47 --> 00:22:27,04 groups of four 233 00:22:28,83 --> 00:22:35,05 and away they go to the accumulation area down below on another pair the car keys 234 00:22:35,05 --> 00:22:37,27 are accumulated for shipment to distributors 235 00:22:37,27 --> 00:22:42,14 and record dealers in all parts of the country these long play all them have been 236 00:22:42,14 --> 00:22:44,78 through the same shipping process as the forty five 237 00:22:45,82 --> 00:22:50,07 and now both versions are on the homestretch hundreds of identical 238 00:22:50,07 --> 00:22:56,90 and they were copies of what I did I will be recording my costumes Romeo 239 00:22:56,90 --> 00:22:57,66 and Juliet 240 00:23:06,98 --> 00:23:13,85 now have my copies Romeo 241 00:23:13,85 --> 00:23:17,32 and Juliet it's traveled a long way. 242 00:23:18,25 --> 00:23:21,23 Bar and illusion the last stop 243 00:23:23,14 --> 00:23:25,28 and the best seat in the country.